307 named progressions, from I–V–vi–IV to the 12-bar blues and the Andalusian cadence, in any key and with any capo.
In F major, the ii–V–I is Gm7 – C7 – Fmaj7 – Fmaj7. The most important move in jazz: tension built on ii, sharpened on V, released on I.
The library above is set to ii–V–I in F major. Press Play to hear it with strummed guitar, bass and drums in a jazz swing groove, tap any chord to hear it on its own, or pick another key or a capo.
| Numeral | Chord | Notes | What it does |
|---|---|---|---|
| ii7 | Gm7 minor seventh | G B♭ D F | predominant (moving away) |
| V7 | C7 dominant seventh | C E G B♭ | dominant (pulling home) |
| Imaj7 | Fmaj7 major seventh | F A C E | tonic (home) |
Chords that share notes slide into each other; a change with no common notes sounds like a bigger step. Here is what each change keeps:
The easiest shape for each chord, with finger numbers. All of them are open-position shapes.
No capo needed: no capo position up to the 7th fret takes away its barre chords. Each row shows the shapes you play and how easy they are (capo positions above the 7th fret are left out: the guitar sounds thin up there).
| Capo | Shapes you play | How easy |
|---|---|---|
| 3rd fret | Em7 A7 Dmaj7 | Very easy |
| 5th fret | Dm7 G7 Cmaj7 | Very easy |
| No capo | Gm7 C7 Fmaj7 | Some barre chords |
| 1st fret | F♯m7 B7 Emaj7 | Hard |
Gm7, C7 and Fmaj7, played Gm7 – C7 – Fmaj7 – Fmaj7.
You don’t need one: no capo position up to the 7th fret takes away its barre chords.
Keep the numerals (ii7, V7, Imaj7) and build each chord from the new key, or tap another key in the library above and the chords change for you.
D minor. It has the same notes as F major, so Dm (the vi chord) sounds at home in F progressions.